Unbreakable Sisterhood

Total Page:16

File Type:pdf, Size:1020Kb

Unbreakable Sisterhood metrocinema JULY / AUGUST 2018 guide WHERE COMMUNITY MEETS CINEMA PRACTICALLY AWESOME THE ROOM 15TH ANNIVERSARY ISLE OF DOGS INDIA FILM FEST OF ALBERTA RBG BEACH PARTY! FRINGE ‘O’ SAURUS CIELO UNBREAKABLE SISTERHOOD SKATE KITCHEN – OPENS AUG 31 metrocinema at the Garneau 8712 - 109 Street, Edm AB T6G 1E9 www.metrocinema.org metrocinema.org 1 Pump House Crafty Radler and Blueberry Ale, Perfect summer drinks for the deck or patio. Pick some up today wherever great craft beer is sold. www.pumphouse.beer Please enjoy responsibly. METRO CINEMA .ORG METRO RETRO Page: 16 MUSIC DOCS P age: 10 metrocinema at the Garneau 8712 - 109 Street, Edm AB T6G 1E9 TEL 780 425 9212 www.metrocinema.org FACEBOOK /metrocinema TWITTER & INSTAGRAM @themetrocinema SERIES HIGHLIGHTS ADMISSION Adult $13 Student/Senior $10 (Matinee $8) Children 12 & Under $8 PASSES Night at the Movies $30 Adult Six Pack $60 S UNDAY CLASSICS Student/Senior Six Pack $50 Page: 10 P age: 10 Silver Screen $300 S CI-FI CINEMA METRO OPERATIONS Dan Nielsen – President Heather Noel – Vice President Randal Pruss – Treasurer Alex Dimitroff – Secretary JD Crookshanks, Steve Grubich, Sandy Hoye, METRO CINEMA is a community based not for profit society devoted to creating and fostering Brad Stromberg, Hitomi Suzuta, opportunities for the exhibition of diverse and unique shared viewing experiences in Edmonton, Alberta Canada. We believe that film and media art are significant art forms; a means of commu- Connie Zimmerman – Directors nication, discussion, and education. Metro Cinema believes in providing opportunities for diverse David Cheoros – Executive Director community and programming. Dan Smith – Operations Manager Pete Harris – Programming Manager Katie Sowden – Communications Director Allan Mulholland – Facility Manager Bill Samoil – Financial Officer Brad Sime – Booth Manager/Head Projectionist Talicia Dutchin – Communications Specialist/ House Manager Nic Keating – Operations Assistant/ Projectionist/House Manager Ryn Climenhaga – Programming Assistant/ House Manager Owen Armstrong – Projectionist Tola Adeshina, Shania Taylor, METRO CINEMA IS GRATEFUL FOR THE SUPPORT OF THE ALBERTA MEDIA ARTS ALLIANCE, Robyn-Lynn Toll – House Managers ALBERTA MEDIA PRODUCTION INDUSTRIES ASSOCIATION, CJSR, FAVA, VUE WEEKLY Lucy Ford, William Latham, Tim Rechner AND THE HARPER-KENNEDY FUND AT THE EDMONTON COMMUNITY FOUNDATION. – Front of House Reps Luka Morita, Sarah Nocente, Max Rubin, METRO CINEMA RECOGNIZES OUR RELATIONSHIP WITH TREATY 6 TERRITORY AND WISHES TO Emma Wolodko - Summer Interns ACKNOWLEDGE THE PAPASCHASE FIRST NATION ON WHOSE UNCEDED LAND THE GARNEAU THEATRE OCCUPIES. metroguidecinema NEW RELEASES Page 6 SPECIAL SCREENINGS Isle of Dogs & EVENTS Page 17 Grace Jones: Bloodlight & Bami Practically Awesome Disobedience - The Terminator Let the Sunshine In - Clash of the Titans (1981) Vampire Clay - The Thing (1982) Zama - Jaws RBG Backstage Tour Fireworks The University of Alberta Pride Alumni Lu Over the Wall Chapter and Business Alumni Association The Miseducation of Cameron Post - Kinky Boots Cielo Wes Anderson’s First & Latest Skate Kitchen - Bottle Rocket - Isle of Dogs FIFA World Cup Semi-Finals & Final BAD GIRLS MOVIE CLUB SERIES & REPERTORY Page 8 Rapid Fire Theatre - DROWNING MONA Metro Movie Party! - Folk Lordz - The Room – 15th Anniversary India Film Festival of Alberta - Beach Party Japanese Masters Reel Family Cinema - Ikiru - The Dark Crystal - Hidden Fortress – 60th Anniversary - The Great Muppet Caper - Yojimbo - Matilda This is Parkdale - Spy Kids FAVA Sunday Classics - Video Kitchen - The African Queen - Main Course - Oliver! – 50th Anniversary Cats or Dogs Sci-Fi Cinema - Catwalk: Tales from the Cat Show Circuit - The Children of Men - Isle of Dogs - Barbarella – 50th Anniversary Reclaiming Our Narrative Music Docs - New Muslim Cool - Turn it Around: The Story Of East Bay Punk Fringe ‘O’ Saurus - Two Trains Runnin’ StoryHive Night Gallery CALENDAR Page 12 CINEMA OF PSYCHEDELIA - Dementia 13 - KUSO - Midnite til Dawn: Post-Apocalypse! Staff Pics - Moon Bad Girls Movie Club - Drowning Mona The Cinema of Psychedelia - Kuso Metro Retro - Bullit – 50th Anniversary - Yellow Submarine – 50th Anniversary Art Docs - Breaking The Frame HOMO-CIDAL Drag Show - Cruising NIGHT GALLERY - DEMENTIA 13 4 metrocinema.org GOING OUT? WE'RE OPEN LATE 10015 82 Ave (Whyte Avenue) STAYING IN? WE DELIVER! 780 469 3517 Order [email protected] after the credits roll... JULY & AUGUST 2018 SCHEDULE There’s always something new at Metro. Visit metrocinema.org to find all our new releases, and the most up to date film listings, show times, and other information. NEW RELEASES Isle of Dogs Vampire Clay (Chi o sû nendo) Germany/USA 2018, 101 min, Disobedience Japan 2017, 80 min, Dir: Sôichi Umezawa Dir: Wes Anderson Ireland/UK/USA 2017, 114 min, Japanese with subtitles JUL 6 @ 7PM, JUL 7 @ 9:30PM, Dir: Sebastián Lelio JUL 22 @ 9PM, JUL 24 @ 9PM JUL 9 @ 9PM, JUL 11 @ 7PM, JUL 16 @ 9:15PM, JUL 17 @ 9:30PM, After studying in Tokyo, Kaori returns to Aina Academy to finish her prep classes for art JUL 12 @ 9:30PM, AUG 8 @ 9PM JUL 19 @ 9:30PM A woman returns to the Orthodox Jewish com- school. Quickly outshining her jealous class- When, by executive decree, all the canine pets of mates, she soon becomes the star of the class Megasaki City are exiled to a vast garbage-dump munity that shunned her for her attraction to a childhood friend. Once back, their passions when she discovers a bag of old, mysterious clay called Trash Island, 12-year-old Atari sets off and uses it for sculpting assignments. Things alone in a miniature Junior-Turbo Prop and flies reignite as they explore the boundaries of faith and sexuality. begin to get strange, however, when students’ across the river in search of his bodyguard-dog, projects are destroyed and one of Kaori’s Spots. There, with the assistance of a pack of classroom rivals disappears. As the students newly-found mongrel friends, he begins an epic uncover that the clay is possessed by an artist journey that will decide the fate and future of the who previously owned the building and died entire Prefecture. tragically in his workshop, the school finds itself attacked by a gang of murderous, bloodthirsty clay “vampires.” Let the Sunshine In (Un beau soleil intérieur) France/Belgium 2017, 94 min, Dir: Claire Denis Zama Grace Jones: Bloodlight & French with subtitles Argentina/Brazil/Spain/Dominican Republic/ France/Netherlands/Mexico/Switzerland/ Bami JUL 20 @ 7PM, JUL 22 @ 7PM, JUL 23 @ 9:30PM, JUL 24 @ 7PM, USA/Portugal/Lebanon 2017, 115 min, Ireland/UK 2017, 115 min, JUL 26 @ 9:30PM Dir: Lucrecia Martel Dir: Sophie Fiennes Isabelle is a divorced Parisian painter searching Spanish with subtitles JUL 12 @ 7PM, JUL 18 @ 9:30PM for another shot at love, but refusing to settle JUL 27 @ 7PM, JUL 28 @ 9:30PM, This electrifying journey through the public and for the parade of all-too-flawed men who drift private worlds of pop culture mega-icon Grace in and out of her life. There’s a caddish banker JUL 29 @ 3:30PM, JUL 30 @ 7PM, Jones contrasts musical sequences with inti- who, like many of her lovers, happens to be mar- AUG 2 @ 9:30PM mate personal footage, all the while brimming ried; a handsome actor who’s working through Zama, an officer of the Spanish Crown born in with Jones’s bold aesthetic. Taking viewers his own hang-ups; and a sensitive fellow artist South America, waits for a letter from the King home with her to Jamaica, into the studio with who’s skittish about commitment. What reads granting him a transfer to a better place. His long-time collaborators Sly & Robbie, and like a standard romantic comedy premise is situation is delicate. He must ensure that noth- backstage at gigs around the world, the film transformed, in the hands of master filmmaker ing overshadows his transfer. The years go by reveals Jones as lover, daughter, mother, and Denis, into something altogether deeper, more and the letter from the King never arrives. When businesswoman. poignant, and perceptive about the profound Zama realizes everything is lost, he joins a party mysteries of love. of soldiers that go after a dangerous bandit. 6 metrocinema.org RBG Lu Over the Wall (Yoake USA 2018, 97 min, tsugeru Rû no uta) Dir: Julie Cohen, Betsy West Japan 2017, 112 min, Dir: Masaaki Yuasa AUG 3 @ 7PM, AUG 4 @ 3:15PM, Japanese with subtitles Cielo AUG 5 @ 7PM, AUG 6 @ 12:30PM, AUG 9 @ 7PM, AUG 11 @ 1PM, Canada/Chile 2017, 78 min, AUG 6 @ 7PM, AUG 7 @ 9:15PM, AUG 15 @ 7PM AUG 9 @ 9:15PM Kai lives in a small fishing town with his super- Dir: Alison McAlpine At the age of 84, U.S. Supreme Court Justice stitious grandfather that warns him of the dan- Spanish, English, & French with subtitles Ruth Bader Ginsburg has developed a breath- gers of the merfolk, who he believes will cause AUG 31 @ 7PM, SEP 1 @ 2PM, taking legal legacy while becoming an unex- them harm. When confronted by bullies, Kai is pected pop culture icon. But without a definitive helped by Lu, a fun-loving mermaid who loves SEP 2 @ 7PM, SEP 3 @ 4PM, Ginsburg biography, the unique personal journey music but is vulnerable to sunlight. With a local SEP 4 @ 9:30PM, SEP 6 @ 7:15PM of this diminutive, quiet warrior’s rise to the na- seafood company posing a threat to the town and Cielo is a cinematic reverie on the crazy beauty tion’s highest court has been largely unknown, a number of its inhabitants hostile towards the of the night sky, as experienced in the Atacama even to some of her biggest fans, until now. mer people, Lu, Kai, and his friends must band Desert, Chile, one of the best places on our together to ensure both communities survive. planet to explore and contemplate its splendour.
Recommended publications
  • Ten Minutes to Midnight Fringe Festival 2015 Award Winning Artists Teresa Luke Linda Jessie
    Ten Minutes to Midnight Fringe Festival 2015 Award Winning Artists Teresa Luke Linda Jessie Creative Team Teresa Crea (Dramaturgy and Conceptual Development)- leading Australian writer and director with a background in social and community engagement. Teresa trained in film and theatre, and co-founded Australia’s first professionally recognised bicultural performance company, Doppio Teatro, receiving national awards for seminal contribution to multiculturalism in the arts. Teresa was awarded a New Media Arts Fellowship in 2003 and has recently completed a doctorate investigating narrative in immersive and simulated environments. Luke Harrald – composer, performer and new-media artist known for his groundbreaking work with improvisation and interactive computer music. Originally from the mid-north of SA, Luke is currently the head of studies for the Popular Music and Creative Technologies program at the University of Adelaide, and lectures in Sonic Arts. He has performed internationally (in London, Paris and Montreal) and is an important contributor to the Adelaide art music scene. Nic Mollison – stage lighting & projection designer since graduating from the Western Australian Academy of Performing Arts (WAAPA) in 1995. Nic has worked with diverse range of theatre, dance & youth arts companies on local, national & international productions, including lighting & video projections for concerts, festivals, nightclubs & visual art installations. He has lectured in lighting & Projection at the University of SA and The Adelaide College Of the Arts. John Romeril - leading Australian playwright (plays include The Floating World, Carboni, The Kelly Dance, Miss Tanaka and Jack Charles versus the Crown). John has been Playwright-in-Residence for many communities, theatre companies and tertiary institutions.
    [Show full text]
  • Fringe Benefits County of Los Angeles Memorandum of Understanding
    SEIU Local 721 Fringe Benefits County of Los Angeles Memorandum of Understanding October 1, 2015, through September 30, 2018 721 FB MAS AMENDMENT NO. I MEMORANDUM OF UNDERSTANDING FOR JOINT SUBMISSION TO BOARD OF SUPERVISORS REGARDING THE FRINGE BENEFIT AGREEMENT THIS AMENDMENT NO. I TO THE MEMORANDUM OF UNDERSTANDING, made and entered into this j6th day of August, 2016; BY AND BETWEEN Authorized Management Representatives (hereinafter referred to as “Management”) of the County of Los Angeles (hereinafter referred to as County”) AND LOS ANGELES COUNTY EMPLOYEES ASSOCIATION, SEIU, LOCAL 721, CTW, CLC (hereinafter referred to as “UnionTM) WHEREAS, on the 1st day of October2015, the parties entered into a Memorandum of Understanding regarding the Fringe Benefits, which Memorandum of Understanding was subsequently approved and ordered implemented by the County’s Board of Supervisors: and 721 FB MAS WHEREAS, as a result of mutual agreement, the parties desire to amend the MOU Article as set forth hereafter: NOW, THEREFORE, the parties agree as follows: 1. Amend Article 27 — Commuting Problems, Paragraph 5 — The County will advance to the Green@Work Joint Labor Management Committee, as follows: MOU Term Year 201 5-2016 $200,000 August 2016 $ 25,000 (one-time gap funding) September 2016 $ 25,000 (one-time gap funding) MOU Term Year 2016-2017 $200,000 MOU Term Year 2017-2018 $200,000 These funds shall be used for the specific purpose of maximizing direct financial rideshare subsidies for employees, and enhancing alternative transportation systems, such as shuttle services, van pools, car pools, bicycle parking, other transit services and guaranteed tide home services.
    [Show full text]
  • First-Run Smoking Presentations in U.S. Movies 1999-2006
    First-Run Smoking Presentations in U.S. Movies 1999-2006 Jonathan R. Polansky Stanton Glantz, PhD CENTER FOR TOBAccO CONTROL RESEARCH AND EDUCATION UNIVERSITY OF CALIFORNIA, SAN FRANCISCO SAN FRANCISCO, CA 94143 April 2007 EXECUTIVE SUMMARY Smoking among American adults fell by half between 1950 and 2002, yet smoking on U.S. movie screens reached historic heights in 2002, topping levels observed a half century earlier.1 Tobacco’s comeback in movies has serious public health implications, because smoking on screen stimulates adolescents to start smoking,2,3 accounting for an estimated 52% of adolescent smoking initiation. Equally important, researchers have observed a dose-response relationship between teens’ exposure to on-screen smoking and smoking initiation: the greater teens’ exposure to smoking in movies, the more likely they are to start smoking. Conversely, if their exposure to smoking in movies were reduced, proportionately fewer teens would likely start smoking. To track smoking trends at the movies, previous analyses have studied the U.S. motion picture industry’s top-grossing films with the heaviest advertising support, deepest audience penetration, and highest box office earnings.4,5 This report is unique in examining the U.S. movie industry’s total output, and also in identifying smoking movies, tobacco incidents, and tobacco impressions with the companies that produced and/or distributed the films — and with their parent corporations, which claim responsibility for tobacco content choices. Examining Hollywood’s product line-up, before and after the public voted at the box office, sheds light on individual studios’ content decisions and industry-wide production patterns amenable to policy reform.
    [Show full text]
  • East-West Film Journal, Volume 3, No. 2
    EAST-WEST FILM JOURNAL VOLUME 3 . NUMBER 2 Kurosawa's Ran: Reception and Interpretation I ANN THOMPSON Kagemusha and the Chushingura Motif JOSEPH S. CHANG Inspiring Images: The Influence of the Japanese Cinema on the Writings of Kazuo Ishiguro 39 GREGORY MASON Video Mom: Reflections on a Cultural Obsession 53 MARGARET MORSE Questions of Female Subjectivity, Patriarchy, and Family: Perceptions of Three Indian Women Film Directors 74 WIMAL DISSANAYAKE One Single Blend: A Conversation with Satyajit Ray SURANJAN GANGULY Hollywood and the Rise of Suburbia WILLIAM ROTHMAN JUNE 1989 The East- West Center is a public, nonprofit educational institution with an international board of governors. Some 2,000 research fellows, grad­ uate students, and professionals in business and government each year work with the Center's international staff in cooperative study, training, and research. They examine major issues related to population, resources and development, the environment, culture, and communication in Asia, the Pacific, and the United States. The Center was established in 1960 by the United States Congress, which provides principal funding. Support also comes from more than twenty Asian and Pacific governments, as well as private agencies and corporations. Kurosawa's Ran: Reception and Interpretation ANN THOMPSON AKIRA KUROSAWA'S Ran (literally, war, riot, or chaos) was chosen as the first film to be shown at the First Tokyo International Film Festival in June 1985, and it opened commercially in Japan to record-breaking busi­ ness the next day. The director did not attend the festivities associated with the premiere, however, and the reception given to the film by Japa­ nese critics and reporters, though positive, was described by a French critic who had been deeply involved in the project as having "something of the air of an official embalming" (Raison 1985, 9).
    [Show full text]
  • Die Beach-Party-Filme (1963-1968) Zusammengestellt Von Katja Bruns Und James Zu Hüningen
    Kieler Beiträge zur Filmmusikforschung, 5.4, 2011 // 623 Die Beach-Party-Filme (1963-1968) Zusammengestellt von Katja Bruns und James zu Hüningen Inhalt: Alphabetisches Verzeichnis der Filme Chronologisches Verzeichnis der Filme Literatur Als Beach Party Movies bezeichnet man ein kleines Genre von Filmen, das sich um die Produktionen der American International Pictures (AIP) versammelt. Zwar gab es eine Reihe von Vorläufern – zuallererst ist die Columbia-Produktion GIDGET aus dem Jahre 1959 zu nennen (nach einem Erfolgsroman von Frederick Kohner), in dem Sandra Dee als Surferin aufgetreten war –, doch beginnt die kurze Erfolgsgeschichte des Genres erst mit BEACH PARTY (1963), einer AIP-Produktion, die einen ebenso unerwarteten wie großen Kassenerfolg hatte. AIP hatte das Grundmuster der Gidget-Filme kopiert, die Geschichte um diverse Musiknummern angereichert, die oft auch als performances seinerzeit populärer Bands im Film selbst szenisch ausgeführt wurden, und die Darstellerinnen in zahlreichen Bikini-Szenen ausgestellt (exponierte männliche Körper traten erst in den Surfer-Szenen etwas später hinzu). Das AIP-Konzept spekulierte auf einen primär jugendlichen Kreis von Zuschauern, weshalb – anders, als noch in der GIDGET-Geschichte – die Rollen der Eltern und anderer Erziehungsberechtigter deutlich zurückgenommen wurden. Allerdings spielen die Auseinandersetzungen mit Eltern, vor allem das Erlernen eines selbstbestimmten Umgangs mit der eigenen Sexualität in allen Filmen eine zentrale dramatische Rolle. Dass die Jugendlichen meist in peer groups auftreten und dass es dabei zu Rang- oder Machtkämpfen kommt, tritt dagegen ganz zurück. Es handelte sich ausschließlich um minimal budgetierte Filme, die on location vor allem an den Stränden Kaliforniens (meist am Paradise Cove) aufgenommen wurden; später kamen auch Aufnahmen auf Hawaii und an anderen berühmten Surfer-Stränden zustande.
    [Show full text]
  • 2019 City Enrichment Fund SUMMARY
    Appendix A to Report GRA19002 2019 City Enrichment Fund SUMMARY No. of 2019 Budget 2019 Category Apps (Total) 2019 Requested Recommended Budget vs Recommended Community Services CS - A Hunger/Shelter 10 $ 416,324 $ 360,015 CS - B Everyone Safe 9 $ 294,291 $ 286,846 CS - C Everyone Thrives 9 $ 299,588 $ 268,321 CS - D No Youth Left Behind 7 $ 180,209 $ 159,608 CS - E Everyone Age in Place 20 $ 485,352 $ 455,101 CS - F Community Capacity Grows 11 $ 214,373 $ 189,492 CS - G Someone to Talk to 7 $ 247,728 $ 141,317 CS - H Emerging Needs 22 $ 553,916 $ 303,660 Community Services Total 95 $ 2,164,360 $ 2,691,781 $ 2,164,360 $ - 0.00% Agriculture AGR A Programs and Events 18 $ 178,615 $ 130,841 Agriculture Total 18 $ 143,361 $ 178,615 $ 130,841 $ 12,520 8.73% Arts ART - A Arts - Operating 34 $ 3,977,467 $ 2,436,164 ART - B Arts - Festival 10 $ 300,070 $ 179,486 ART - C Arts - Capacity Building 9 $ 113,000 $ 58,597 ART - D Arts - Creation & Presentation 35 $ 238,877 $ 96,295 Arts Total 88 $ 2,770,542 $ 4,629,414 $ 2,770,542 $ - 0.00% Environment ENV-A Capacity Building - $ - $ - ENV-C Project and Programs 8 $ 180,364 $ 114,925 Environment Total 8 $ 146,390 $ 180,364 $ 114,925 $ 31,465 21.49% Page 1 of 20 Appendix A to Report GRA19002 No. of 2019 Budget 2019 Category Apps (Total) 2019 Requested Recommended Budget vs Recommended Communities, Culture & Heritage CCH - A CCH - Events 57 $ 782,985 $ 535,595 CCH - B CCH - New Projects 11 $ 165,092 $ 44,645 CCH - C CCH - Capacity Building 1 $ 6,900 $ - CCH Total 69 $ 564,972 $ 954,977 $ 580,240 -$ 15,268
    [Show full text]
  • Vision, Desire and Economies of Transgression in the Films of Jess Franco
    A University of Sussex DPhil thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details 1 Journeys into Perversion: Vision, Desire and Economies of Transgression in the Films of Jess Franco Glenn Ward Doctor of Philosophy University of Sussex May 2011 2 I hereby declare that this thesis has not been, and will not be, submitted whole or in part to another University for the award of any other degree. Signature:……………………………………… 3 Summary Due to their characteristic themes (such as „perverse‟ desire and monstrosity) and form (incoherence and excess), exploitation films are often celebrated as inherently subversive or transgressive. I critically assess such claims through a close reading of the films of the Spanish „sex and horror‟ specialist Jess Franco. My textual and contextual analysis shows that Franco‟s films are shaped by inter-relationships between authorship, international genre codes and the economic and ideological conditions of exploitation cinema. Within these conditions, Franco‟s treatment of „aberrant‟ and gothic desiring subjectivities appears contradictory. Contestation and critique can, for example, be found in Franco‟s portrayal of emasculated male characters, and his female vampires may offer opportunities for resistant appropriation.
    [Show full text]
  • The Hidden Fortress Delivers Kurosawa's Trademark Deft Blend of Wry Humor, Breathtaking Action, and Compassionate
    The Hidden Fortress delivers Kurosawa’s trademark deft blend of wry humor, breathtaking action, and compassionate humanity. A grand­scale adventure as only Akira Kurosawa could make one, The Hidden Fortress stars the inimitable Toshiro Mifune as a general charged with guarding his defeated clan’s princess (a fierce Misa Uehara) as the two smuggle royal treasure across hostile territory. Accompanying them are a pair of bumbling, conniving peasants who may or may not be their friends. This rip­roaring ride is among the director’s most beloved films and was a primary influence on George Lucas’s Star Wars. Starring Toshiro Mifune, Misa Uehara, Minoru Chiaki, Kamatari Fujiwara, Susumu Fujita In Japanese with English subtitles | Not Rated | 139 min | 1958 | Directed by Akira Kurosawa Registration is required. Presented with Japan Commerce Association of Washington, D.C., Inc. You are invited to J-Film: The Hidden Fortress Wednesday, March 14th, 2018 from 6:30 PM to 9:00 PM (EDT) Japan Information & Culture Center, Embassy of Japan 1150 18th Street Northwest Suite 100 Washington DC 20036 US CLICK HERE TO REGISTER This event is free and open to the public, but registration is required. In the event of a cancellation, please contact us at [email protected]. Program begins at 6:30 PM. Doors open 30 minutes before the program. No admittance after 7:00 PM. Registered guests will be seated on a first come, first served basis. Please note that seating is limited and registration does not guarantee a seat. The JICC reserves the right to use any photograph/video taken at any event sponsored by JICC without the expressed written permission of those included within the photograph/video..
    [Show full text]
  • Fringe Season 1 Transcripts
    PROLOGUE Flight 627 - A Contagious Event (Glatterflug Airlines Flight 627 is enroute from Hamburg, Germany to Boston, Massachusetts) ANNOUNCEMENT: ... ist eingeschaltet. Befestigen sie bitte ihre Sicherheitsgürtel. ANNOUNCEMENT: The Captain has turned on the fasten seat-belts sign. Please make sure your seatbelts are securely fastened. GERMAN WOMAN: Ich möchte sehen wie der Film weitergeht. (I would like to see the film continue) MAN FROM DENVER: I don't speak German. I'm from Denver. GERMAN WOMAN: Dies ist mein erster Flug. (this is my first flight) MAN FROM DENVER: I'm from Denver. ANNOUNCEMENT: Wir durchfliegen jetzt starke Turbulenzen. Nehmen sie bitte ihre Plätze ein. (we are flying through strong turbulence. please return to your seats) INDIAN MAN: Hey, friend. It's just an electrical storm. MORGAN STEIG: I understand. INDIAN MAN: Here. Gum? MORGAN STEIG: No, thank you. FLIGHT ATTENDANT: Mein Herr, sie müssen sich hinsetzen! (sir, you must sit down) Beruhigen sie sich! (calm down!) Beruhigen sie sich! (calm down!) Entschuldigen sie bitte! Gehen sie zu ihrem Sitz zurück! [please, go back to your seat!] FLIGHT ATTENDANT: (on phone) Kapitän! Wir haben eine Notsituation! (Captain, we have a difficult situation!) PILOT: ... gibt eine Not-... (... if necessary...) Sprechen sie mit mir! (talk to me) Was zum Teufel passiert! (what the hell is going on?) Beruhigen ... (...calm down...) Warum antworten sie mir nicht! (why don't you answer me?) Reden sie mit mir! (talk to me) ACT I Turnpike Motel - A Romantic Interlude OLIVIA: Oh my god! JOHN: What? OLIVIA: This bed is loud. JOHN: You think? OLIVIA: We can't keep doing this.
    [Show full text]
  • Masaki Kobayashi: HARAKIRI (1962, 133M) the Version of This Goldenrod Handout Sent out in Our Monday Mailing, and the One Online, Has Hot Links
    October 8, 2019 (XXXIX: 7) Masaki Kobayashi: HARAKIRI (1962, 133m) The version of this Goldenrod Handout sent out in our Monday mailing, and the one online, has hot links. Spelling and Style—use of italics, quotation marks or nothing at all for titles, e.g.—follows the form of the sources. DIRECTOR Masaki Kobayashi WRITING Shinobu Hashimoto wrote the screenplay from a novel by Yasuhiko Takiguchi. PRODUCER Tatsuo Hosoya MUSIC Tôru Takemitsu CINEMATOGRAPHY Yoshio Miyajima EDITING Hisashi Sagara The film was the winter of the Jury Special Prize and nominated for the Palm d’Or at the 1963 Cannes Film Festival. CAST Tatsuya Nakadai...Tsugumo Hanshirō (1979), Tokyo Trial* (Documentary) (1983), and Rentarō Mikuni...Saitō Kageyu Shokutaku no nai ie* (1985). He also wrote the screenplays Akira Ishihama...Chijiiwa Motome for A Broken Drum (1949) and The Yotsuda Phantom Shima Iwashita...Tsugumo Miho (1949). Tetsurō Tamba...Omodaka Hikokuro *Also wrote Ichiro Nakatani...Yazaki Hayato Masao Mishima...Inaba Tango SHINOBU HASHIMOTO (b. April 18, 1918 in Hyogo Kei Satō...Fukushima Masakatsu Prefecture, Japan—d. July 19, 2018 (age 100) in Tokyo, Yoshio Inaba...Chijiiwa Jinai Japan) was a Japanese screenwriter (71 credits). A frequent Yoshiro Aoki...Kawabe Umenosuke collaborator of Akira Kurosawa, he wrote the scripts for such internationally acclaimed films as Rashomon (1950) MASAKI KOBAYASHI (b. February 14, 1916 in and Seven Samurai (1954). These are some of the other Hokkaido, Japan—d. October 4, 1996 (age 80) in Tokyo, films he wrote for: Ikiru (1952),
    [Show full text]
  • Note to Users
    NOTE TO USERS This reproduction is the best copy available. UMI' The Spectacle of Gender: Representations of Women in British and American Cinema of the Nineteen-Sixties By Nancy McGuire Roche A Dissertation Submitted in Partial Fulfillment of the Requirements for the Ph.D. Department of English Middle Tennessee State University May 2011 UMI Number: 3464539 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMT Dissertation Publishing UMI 3464539 Copyright 2011 by ProQuest LLC. All rights reserved. This edition of the work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 The Spectacle of Gender: Representations of Women in British and American Cinema of the Nineteen-Sixties Nancy McGuire Roche Approved: Dr. William Brantley, Committees Chair IVZUs^ Dr. Angela Hague, Read Dr. Linda Badley, Reader C>0 pM„«i ffS ^ <!LHaAyy Dr. David Lavery, Reader <*"*%HH*. a*v. Dr. Tom Strawman, Chair, English Department ;jtorihQfcy Dr. Michael D1. Allen, Dean, College of Graduate Studies Nancy McGuire Roche Approved: vW ^, &v\ DEDICATION This work is dedicated to the women of my family: my mother Mary and my aunt Mae Belle, twins who were not only "Rosie the Riveters," but also school teachers for four decades. These strong-willed Kentucky women have nurtured me through all my educational endeavors, and especially for this degree they offered love, money, and fierce support.
    [Show full text]
  • From Real Time to Reel Time: the Films of John Schlesinger
    From Real Time to Reel Time: The Films of John Schlesinger A study of the change from objective realism to subjective reality in British cinema in the 1960s By Desmond Michael Fleming Submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy November 2011 School of Culture and Communication Faculty of Arts The University of Melbourne Produced on Archival Quality Paper Declaration This is to certify that: (i) the thesis comprises only my original work towards the PhD, (ii) due acknowledgement has been made in the text to all other material used, (iii) the thesis is fewer than 100,000 words in length, exclusive of tables, maps, bibliographies and appendices. Abstract The 1960s was a period of change for the British cinema, as it was for so much else. The six feature films directed by John Schlesinger in that decade stand as an exemplar of what those changes were. They also demonstrate a fundamental change in the narrative form used by mainstream cinema. Through a close analysis of these films, A Kind of Loving, Billy Liar, Darling, Far From the Madding Crowd, Midnight Cowboy and Sunday Bloody Sunday, this thesis examines the changes as they took hold in mainstream cinema. In effect, the thesis establishes that the principal mode of narrative moved from one based on objective realism in the tradition of the documentary movement to one which took a subjective mode of narrative wherein the image on the screen, and the sounds attached, were not necessarily a record of the external world. The world of memory, the subjective world of the mind, became an integral part of the narrative.
    [Show full text]